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R. 90. A. 2. S. 26.-)
76
Now the important question in this connexion is this:—Who tastes or enjoys the ta ?
Before answering this question it is desirable to make a clear distinction between the te in ordinary life and the ta in poetry. In ordinary everyday life, the te, for instance the sentiment of love, is produced (or rather developed ) in the heart of a young man who has fallen in love with a young woman. Naturally if his love is reciprocated, it is tasted and enjoyed by him alone. Others can never taste or enjoy his sentiment of love,
But in poetry ( both written as well as in dramas. ) the case of this altogether different. Here the ph is described to have developed in the characters in the poem (such as 14 and star ), the farat ta int he heart of राम is developed fully there by means of विभाव. अनुभाव and safhaft#19. But the strangest thing here is this that the here developed is tasted or enjoyed not by the character in the poem or drama but by the readers or the audience in a theatre !
How is this miracle worked ? The explanation is this:--
There is a hidden power called histoffzut in poetry, by virtue of which the readers (or the audience ) -- think that the विभावs, अनुभावs and व्यभिचारिभावs that are really exclusively with reference to the characters in a poem or a drama are their own! Thus while the drama is being staged, every one of the audience thinks or rather fancies that he is a hero in the fairy land of imagination and that the female character in the play is his beloved (he forgets for a while that they
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